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Osmanlı’nın usta mimari Koca Sinan camii, hamam, medrese, mescit, han, kervansaray, darüşşifa, imaret, tabhane, darülkurra, sıbyan mektebi, su kemeri, tekke, çeşme ve saray gibi çok sayıda geniş tipolojide eser vermiş ve arkasında yaklaşık 400 e yakın eser bırakmıştır. Mimar Sinan’ın en çok üzerinde durduğu ve sayıca en fazla eseri camileridir. Başta payitaht Istanbul olmak üzere, imparatorluğun farklı yerlerine cami inşa etmiş olan Sinan hiçbir camiisinde aynı plan şemasını kullanmamış, kendisini tekrar etmemiş ve sürekli farklı plan denemelerinde bulunmuştur. Sinan’ın camilerinde kullandığı asal yapı elemanı kubbedir. O’nun camilerinde planı da belirleyen ana unsur olan kubbe hem tüm mekan bütününe hem de yapının dış plastiğine hakim konumda olan bir mimari elemandır. Bulunduğu şehirlerin kentsel silüetini de belirleyen ve yapının merkezi noktasında bulunan kubbe, Sinan camilerinde aynı zamanda bir imgedir. Mimari peyzajın önemli bir parçası olan camilerinde Sinan, kubbeli yapı geleneğine yeni bir kimlik kazandırmış ve bir mimari üslup geliştirmiştir. Sinan camilerinin plan kuruluşunu, onun kubbelerinde kullandığı strüktür özellikleri belirler. Kubbe strüktüründe 4, 6 ve 8 destek (baldaken) gibi çoklu mesnet sistemleri kullanan Mimar Sinan, bu sistemlerle oluşturduğu kubbeli yapılarda planı bu sistem çevresinde kurgular. Bu makalede Mimar Sinan’ın dörtlü baldaken sistemli tek kubbeli camiler grubuna giren beş camii (Edirnekapı Mihrimah Sultan, Eyüp Zal Mahmut Paşa, Lüleburgaz Sokullu Mehmet Paşa, Fatih Bali Paşa ve Manisa Muradiye) seçilmiş ve bu yapılarda kubbenin oturduğu merkezî kare baldaken sistemin kuruluşu ve etrafında gelişen yan mekân organizasyonu analiz edilmeye çalışılmıştır.
The master architect Koca Sinan camii, hamam, medrese, mosquito, han, kervansaray, darüşşifa, imaret, tabhane, darülkurra, sibyan mektebi, water belt, tekke, fountain and palace has done works in many wide types and has left around 400 works behind it. The architect Sinan stands on the most and the number of most works are the mosques. Sinan, who built a mosque in different places of the empire, including Istanbul, did not use the same plan scheme in any mosque, did not repeat it, and was constantly testing different plans. The original building element used in Sinan's mosques is the cubbed. The cube, which is the main element that determines the plan in its mosques, is an architectural element that dominates both the whole space and the external plastic of the structure. The cube, which also determines the urban silhouette of the cities in which it is located and located at the central point of the structure, is also an image in the Sinan mosques. In his mosques, which are an important part of the architectural landscape, Sinan has gained a new identity to the cubic building tradition and developed an architectural style. The plan structure of the Sinan mosques determines the structural characteristics it uses in its cubes. The architect Sinan, who uses multi-mesnet systems such as support 4, 6 and 8 (baldaken) in the Kubbe structure, imagines the plan around this system in the kubbe structures it creates with these systems. In this article, the five camii (Edirnekapı Mihrimah Sultan, Eyüp Zal Mahmut Paşa, Lüleburgaz Sokullu Mehmet Paşa, Fatih Bali Paşa and Manisa Muradiye), which entered the group of one-cubble mosques of the architect Sinan's four-cubble system, were selected and in these structures the organization of the central square-cubble system and the development of the side-space organization around it were attempted to be analyzed.
The Ottoman Empire’s Master Architect (Mimar) Sinan produced close to 400 works of different types, including mosques, hammams or bath-houses, madrasahs, masjids (prayer rooms), khans (inns), caravanserais, hospitals (darüşşifa), imarets, guest houses (tabhane), Koranic schools (darülkurra), primary schools (sıbyan mektebi), waterways, lodges (tekke), fountains and palaces. The works of Mimar Sinan that he attached great importance to and produced the greatest in number were mosques. Sinan built mosques at different locations throughout the Empire, particularly in the capital city of Istanbul but he never used the same layout plan in any of these, never repeated himself, choosing instead to experiment continuously with different schemes. The dome is the fundamental building element that Sinan uses in his mosques. The dome is the principal component that determines the plan of the mosque, where it appears as an architectural feature that dominates the entire inner space as well as the outer plastic form. The dome is also a symbolic element that defines the city silhouette, standing at the center of the structure, becoming a significant part of the architectural landscape. With his mosques, Sinan has given the tradition of the domed structure a new identity and has developed a distinctive architectural style. The principal structural element that Sinan employed in his mosques was the dome. The construct of Sinan’s mosque plans determined the structural characteristics that would constitute his domes. Mimar Sinan used use of multiple-support systems such as 4, 6 and 8-baldachins in his dome structures, planning the layouts of his domed structures around the framework of these systems. In this article, we will attempt to examine five of Mimar Sinan’s square baldachin, single-dome mosques (Edirnekapı Mihrimah Sultan, Eyüp Zal Mahmut Pasha, Lüleburgaz Sokullu Mehmet Pasha, Fatih Bali Pasha and Manisa Muradiye) in an effort to offer an analysis on the organization of the domed principal and auxiliary spaces in these structures.
Alan : Eğitim Bilimleri; Filoloji; Güzel Sanatlar; Hukuk; İlahiyat; Sosyal, Beşeri ve İdari Bilimler; Spor Bilimleri
Dergi Türü : Uluslararası
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